His numerous texts begging forgiveness have gone unanswered, leading to another tattoo (some barbed wire to really highlight that inner torment) added to his assortment of body art. Meanwhile, Hardin ( Hero Fiennes Tiffin) is struggling with Tessa’s refusal to forgive his crushing betrayal. Tessa ( Josephine Langford) has just commenced a coveted internship with publishing powerhouse Vance Publishing, where she’s tasked with reading manuscripts for her domineering boss Christian Vance ( Charlie Weber) and playfully flirts with her straight-laced co-worker Trevor (an oddly-robotic Dylan Sprouse). Picking up one month after the events of the first film, After We Collidedfinds our two star-crossed lovebirds living separate lives. But Hardin Scott is no Sebastian Valmont and the only thing dangerous about this liaison is its baffling continuance with romanticising a toxic relationship. As dull and lifeless as its predecessor, this sequel so achingly wants to be this generation’s Cruel Intentions they hired Roger Kumble to direct this flat follow-up. That being said, I’m left entirely perplexed by the allure of something like After We Collided. I may be ancient to a teenager, but, hopefully, that doesn’t disqualify my thoughts on whatever latest fad film franchise they’re currently going crazy for. And films like The Perks of Being a Wallflower, Love, Simon, and The Fault in Our Stars made me all sorts of weepy.

I cheered for Katniss Everdeen through all four films in The Hunger Games franchise. For all its many follies, I found the Twilight saga to be a strangely enjoyable guilty pleasure. That being said, I’ve managed to enjoy all manner of YA film adaptations in the two decades since I last called myself a teenager. And it’s unlikely it’s inherently meant for me either. If you have no idea what I’m talking about, the hastily-organised sequel After We Collided clearly isn’t meant for you. Based on Anna Todd‘s popular 2014 young-adult novel that was inspired by One Direction heartthrob Harry Styles, the film was a moderate commercial success, grossing $70 million on a budget of just $14 million. Unless you find yourself in a certain target demographic, you’re possibly blissfully unaware of the 2019 teen soap opera romance flick that was Away.

After we rise anna todd